Bakerloo-Bakerloo (1969)

Another short-lived, one-album band was Bakerloo, hailing from the British town of Tamworth. Their lineup included guitarist Dave "Clem" Clempson, bassist Terry Pole, and drummer John Hinch. Initially, this power trio was called Bakerloo Blues Line and, as the name suggests, based their style on the blues. However, as time went on, they became more experimental, moving towards progressive blues rock. Thanks to a considerable following and the sponsorship of future Black Sabbath manager Jim Simpson, they gained enough recognition to perform on John Peel's famous BBC Radio 1 show, "Top Gear." Shortly after, John Hinch was replaced by drummer Keith Baker, with whom they recorded their self-titled debut album, released by the prestigious Harvest label in 1969. Although the album received very enthusiastic reviews, it unfortunately had little commercial impact, despite containing genuinely progressive music with blues, jazz, and heavy hard rock sounds. Tracks like the powerful "Big Bear Ffolly," the psychedelic "Last Blues," the epic boogie-rock "Son of Moonshine," the folk-blues foray into Johann Sebastian Bach's classic "Drivin' Bachwards," and the hypnotic blues of the majestic "This Worried Feeling" make it a truly underrated classic of the progressive genre. Shortly after the release of this album, the band would break up when Clempson left to join the jazz rock band Colosseum and later Humble Pie, while Keith Baker would do the same, joining Uriah Heep and Terry Poole the Graham Bond Organisation.

Jim Diamond-Double Crossed (1984)

Jim Diamond became a dazzling star thanks to several of his songs that achieved great commercial and media success in the 1980s. This Scottish singer-songwriter began his career at a young age, leading several local bands in the Glasgow area, such as The Method and Jade, in the 1960s. Jade gained attention after performing in London in 1969. It was then that the legendary bluesman Alexis Korner saw him perform and was pleasantly surprised by his talented voice with its soulful and bluesy undertones. Shortly after, Diamond joined Korner's band, providing backing vocals and recording the album "The Lost Album." After his time with Korner, he formed the group Bandit, which also included future AC/DC bassist Cliff Williams. After releasing the album "Bandit," Diamond disbanded the group and became the vocalist for BACCO, a short-lived Japanese band. The lack of success and limited media attention led him to move to Los Angeles and form a new band called Slick Diamond with guitarist Earl Slick, though they never officially released any material. Finally, in 1981, he achieved success with the trio PhD, comprised of Diamond, drummer Simon Phillips, and keyboardist Tony Hymas, two seasoned musicians with extensive experience playing alongside Jeff Beck, Jack Bruce, Gary Moore, Judas Priest, and Duncan Browne. Diamond's composition "I Won't Let You Down" became one of his most iconic songs and a top-selling single of 1982. However, the band's run was short-lived; shortly after disbanding, Diamond decided to launch his solo career and signed with A&M Records. In 1984, he achieved worldwide success with the acclaimed "I Should Have Known Better," an intense ballad from his debut album, "Double Crossed," which also featured other notable tracks such as "Remember I Love You" and "I Sleep Alone at Night." Several minor hits, like "Hi Ho Silver," and collaborations with musicians such as Tony Banks and Steve Hackett of Genesis, became his most significant contributions. In the following years, Jim Diamond remained largely outside the mainstream charts, despite sporadically releasing a series of albums that went largely unnoticed by the public.

Diana Krall-Wallflower (2015)

For her twelfth studio album, jazz pianist and singer Diana Krall presented a repertoire comprised of pop and rock standards from the last four decades, all contemporary classics that inspired her early career. Produced by David Foster, a born winner with more than 15 Grammy Awards to his name, the album also features collaborations with folk, rock, and jazz legends such as Graham Nash, Stephen Stills, Christian McBride, Michael Thompson, Nathan East, Michael Bublé, Timothy B. Schmit, Georgie Fame, Bryan Adams, Steve Jordan, and Jim Keltner, among many others. For the album, Diana Krall meticulously selected each song, including true classics such as "California Dreamin'" by The Mamas and The Papas, "Desperado" and "I Can't Tell You Why" by The Eagles, "Sorry Seems To Be The Hardest Word" by Elton John, "Alone Again (Naturally)" by Gilbert O'Sullivan, "Wallflower" by Bob Dylan, and "I'm Not In Love" by 10cc. In all of them, Diana Krall showcases her tremendous vocal talent, singing expressively and with great beauty. With this album, Diana Krall has definitively established that her artistic talent transcends any musical style, making her one of the most important and influential artists of recent decades.

The Walker Brothers-No Regrets (1975)

Despite being American, the Walker Brothers' fame began in England in the mid-1960s. It all started in 1965 with the success of their first single, "Make It Easy On Yourself," a song composed by Burt Bacharach a few years earlier. The Walker Brothers' voices became classics of 1960s pop during those years, with a style based on the perfect quality and vocal harmonies of the three members of the group: Scott Engel (Scott Walker), vocals and bass; John Maus (John Walker), vocals and guitar; and Gary Leeds (Gary Walker), drums and vocals. Their beginnings date back several years earlier when, after various experiences, they decided to move from California to England. There, in addition to the single "Make It Easy On Yourself," they achieved success with other songs like "My Ship Is Coming In." Their first album, "Take It Easy," also propelled them to triumph, leading to a true Walker Brothers boom. Their most iconic song, "The Sun Ain't Gonna Shine Anymore," and subsequent singles propelled them to the same commercial heights as The Beatles for several years. These singles included "Baby You Don't Have to Tell Me," "Another Tear Falls," "Deadlier Than the Male," "Stay with Me Baby," and "Walking in the Rain." However, this whirlwind of success didn't prevent the group from disbanding after their third album, "Images," released in 1967. Subsequently, none of the three members would achieve the same level of individual success they had enjoyed while together. In 1975, they reunited to record the brilliant "No Regrets," but after that, they never reunited again, remaining immortalized as a fundamental group of the 1960s thanks to their immense talent and perfect vocal harmonies.

Queen-Live At Wembley ´86 (1986)

After the massive 1985 concert, "Live Aid," the British band Queen, immersed in a deep creative and internal crisis and facing doubts about their future, persevered, rising from the ashes with their next album, "A Kind of Magic." On the tour following this album, the band performed around thirty concerts throughout Europe, though not in the United States, where they were banned due to their provocative and (in the eyes of the American authorities) obscene promotional video, "I Want to Break Free." On July 11 and 12, 1986, they performed at the legendary Wembley Stadium, and the material from those performances was released later that year as the double live album "Live at Wembley '86." Before more than 150,000 people who filled the stadium during those two days, Queen, with Freddie Mercury at the helm, presented a wide repertoire of their greatest hits such as "Under Pressure", "Another One Bites The Dust", "I Want To Break Free", "Crazy Little Thing Called Love" or "Bohemian Rhapsody", in addition to several songs from the album that motivated the tour such as the eponymous "A Kind of Magic", or other emblematic songs such as "Seven Seas of Rhye" or the infectious "In the Lap of the Gods"; the hard rock "Tie Your Mother Down", "Now I'm Here" and "Hammer to Fall"; or a moving tribute to late 1950s rock and roll with "(You're So Square) Baby I Don't Care," "Hello Mary Lou Goodbye Heart," and "Tutti Frutti," culminating in a thrilling finale with the energetic "Radio Ga Ga" and the unbeatable duet of the iconic "We Will Rock" and "We Are the Champions.". To close, the British anthem "God Save the Queen," with Freddie Mercury dressed in a cape and crown emulating the Queen of England, perhaps the most legendary and memorable image of one of the greatest singers in rock history.

Bill Withers-Bill Withers´ Greatest Hits (1981)

This iconic soul and R&B singer and songwriter would go down in history for a series of impactful hits that are among the most successful in both genres, such as the well-known "Ain't No Sunshine", "Use Me", "Lovely Day", and "Just the Two of Us". Bill Withers was born and raised in Virginia in the late 1930s. Years later, after being discharged from the U.S. Navy, he settled in Los Angeles with the intention of launching a music career. For some time, he composed and wrote songs primarily focused on soul and rhythm and blues. His style, based on rich melodies and refined arrangements, caught the attention of Stax Records, the leading label in Black music, who offered him a contract to record an album featuring some of the demos he had composed during those years. Produced by one of Stax Records' legendary musicians, Booker T. Jones, the resulting album, "Just As I Am" (1971), reached number five on the Billboard Black Album charts, while the single "Ain't No Sunshine" became a massive hit, achieving multiple platinum records and reaching number three on the Billboard Hot 100. In the following years, Bill Withers would have other similarly commercially successful hits with songs like "Grandma's Hands", "Lean On Me", "Us Me", "Lovely Day", and "Just the Two of Us", the latter featuring jazz fusion saxophonist Grover Washington Jr. However, his studio albums did not achieve the same level of success, with the exception of "Still Bill" in 1972 and "Menagerie" in 1977, both of which were certified gold. Towards the end of 1981, the compilation album "Bill Withers' Greatest Hits" was released, a superb collection of all his greatest hits, which became his biggest commercial success, selling nearly a million copies and reaffirming the brilliant career of this extraordinary singer and songwriter. Over the years, his popularity has been further enhanced by several popular films and TV series that have included the song "Ain't No Sunshine" in their soundtracks, such as "Third Watch", "Notting Hill", "When We Were Kings", and "Flight".

Sutherland Brothers & Quiver-Reach For The Sky (1975)

The debut of this Scottish quartet in early 1972 catapulted them to fame as one of the most promising folk-rock bands, influenced by a style that inherited the irresistible vocal melodies of The Beatles and the instrumental sound of The Byrds. Formed by brothers Iain and Gavin Sutherland, both guitarists and vocalists, Kim Ludman on bass, and Neil Hopwood on drums, they got their start in the early 70s when they signed with Island Records. With them, they released their first album, "The Sutherland Brothers Band", in 1972, which included the single "Sailing", a song later covered by Rod Stewart, achieving resounding success on the British charts. Shortly after, the band broke up, and the Sutherland brothers decided to continue as a duo, releasing the album "Lifeboat" (1973), which went largely unnoticed. However, in an attempt to diversify their folk-rock style, the duo joined forces with a local rock band called Quiver, which consisted of guitarist Tim Renwick, bassist Bruce Thomas, and drummer Willie Wilson. This collaboration resulted in the albums "Dream Kid" (1973), "Beat of the Street", "Reach for the Sky", "Slipstream" (1976), and "Down to Earth" (1977). With a string of major hits that achieved considerable notoriety, such as "Ain't Too Proud", "Arms of Mary", "When the Train Comes", "Secrets", and "Easy Come Easy Go", the band established itself as one of the biggest sensations of British folk rock in the mid-70s. However, after the album "Down to Earth", the band would eventually disband as some of its members left, including Renwick, who went on to collaborate with Al Stewart, with whom he had already worked in previous years, and Bruce Thomas, who answered Elvis Costello's call to join his group The Attractions. Willie Wilson then became actively involved in the projects of Pink Floyd guitarist David Gilmour.

Savoy Brown-Street Corner Talking (1971)

Savoy Brown were one of the genuine British blues bands, with a clear affinity for the style of Alvin Lee's Ten Years After, but with an instrumental synergy closer to Peter Green's Fleetwood Mac and even John Mayall's Heartbreakers. In 1970, this band, originally from the small town of Battersea in southwest England, faced its first major setback when almost all of its founding members left simultaneously: Lonesome Dave, Roger Earl, and Tony Stevens, who went on to form the boogie-rock band Foghat. Therefore, the sole survivor, guitarist Kim Simmonds, had to reorganize the band, recruiting a completely new lineup, starting with singer Dave Walker, bassist Andy Silvester, and drummer Dave Bidwell, as well as pianist Paul Raymond, all former members of the blues band Chicken Shack. Taking advantage of Walker's fervent vocals, which counterbalanced Simmonds' energetic and robust guitar, this new lineup recorded Savoy Brown's seventh album, "Street Corner Talking", a powerful and solid example of the best British blues rock of the early 70s. Tracks like the elegant versions of Willie Dixon's "Wang Dang Doodle" and the Motown classic "I Can't Get Next To You", plus the dark and sublime "All I Can Do" or the bluesy subtlety of "Tell Mama", are credit enough for an attractive and multifaceted album, where each musician contributes their talent uniformly to the final result, demonstrating that the loss they had suffered did not diminish them in either quality or grandeur.

Camel-The Snow Goose (1975)

Following Camel's magnificent second album, "Mirage", the British quartet released their second consecutive masterpiece: the concept album "The Snow Goose". Based on Paul Gallico's classic novel, Latimer and Bardens wrote a substantial amount of material with the intention of deeply exploring symphonic and classical influences, including orchestral arrangements and contributions. The display of melancholy and introspection is far more prevalent than in their previous work, instrumentally narrating a story literally translated into the language of music. The lyrical "Rhayader" and the expressionistic "Rhayader Goes to Town" are timeless Camel classics, while the majestic title track, the dramatic "Dunkirk", and the heartfelt "Fritha Alone" are crafted to be enjoyed as a harmonious whole. With "The Snow Goose", Camel succeeded in producing an album of highly sophisticated progressive rock, deeply reflective and with perfect, magical, and intelligent instrumentation.

The Nitty Gritty Dirt Band-The Rest Of The Dream (1990)

The Nitty Gritty Dirt Band are one of the legendary American folk and country rock bands, with over thirty studio albums to their name, some of which have won Grammy Awards. They have also been voted the best country band for years and have been inducted into the Country Music Hall of Fame. Formed on the American West Coast in the late 1960s by Jeff Hanna (guitar and vocals) and Jimmie Fadden (drums), they have undergone countless lineup changes throughout their more than 50-year career. With a style that encompassed traditional American sounds such as folk, bluegrass, country, blues, and Cajun, fused with rock, they achieved their greatest success in the 1970s and 80s with songs like "Mr. Bojangles," "House at Pooh Corner", "I Saw the Light", "Dance Little Jean", "Long Hard Road (The Sharecropper's Dream)", "Modern Day Romance", and "Fishin' in the Dark", among many others. Likewise, some of their albums are considered masterpieces of country and folk, such as "Uncle Charlie & His Dog Teddy" (1970), "Will the Circle Be Unbroken" (1972), "An American Dream" (1979), "Plain Dirt Fashion" (1984), "Will the Circle Be Unbroken: Volume Two" (1989), and "The Rest of the Dream" (1990). Focusing on this last one, "The Rest of the Dream", Following the groundbreaking "Will The Circle Be Unbroken Vol. 2", it was quite a challenge to replicate that success. The result was a solid return to genuine country rock, setting aside their roots with classic country, folk, and bluegrass songs. Here, they showcased their more approachable, accessible, and commercial side with a series of pleasant and catchy tracks like "From Small Things (Big Things One Day Come)", "Just Enough Ashland City", "Waiting On A Dark Eyed Girl", and "Blow Out The Stars, Turn Off The Moon". With these songs, they demonstrated that, in addition to their deep roots style, they could also easily create songs for the FM radio stations that broadcast the new country-pop sounds so popular in the late eighties and early nineties.

Faith No More-The Real Thing (1989)

Let's go back to the 80s, that decade where tastes and styles were constantly changing, opening and closing countless musical horizons. Another band categorized as alternative rock and heavy metal was the American group Faith No More. Formed in the late 70s, their main characteristic was their skillful combination of a multitude of styles, including heavy metal, funk metal, rap, and avant-garde hard rock. Their first lineup consisted of Mike Bordin (drums), Billy Gould (bass), Chuck Mosley (vocals), Jim Martin (guitar), and Roddy Bottum (keyboards). After their first and commendable album, "We Care a Lot" (1985), and the more elaborate "Introduce Yourself" (1987), they changed vocalists, a position that would fall to Mike Patton, a figure who would be crucial to Faith No More's successful trajectory. With this new lineup, they released their best work, "The Real Thing", where the Californian band showcased their eclectic style, revealing influences from thrash metal, punk, rap, and more accessible sounds, as demonstrated by energetic tracks like "Epic", "Falling to Pieces", and "Surprise! You're Dead". These were followed by captivating mid-tempo songs such as "Zombie Eaters" and "Underwater", the instrumental "Woodpecker from Mars", and an exciting cover of Black Sabbath's "War Pigs". Together, these tracks formed a superb repertoire that would lead them to achieve multiple platinum records for their multi-million sales worldwide. 

Crosby Stills & Nash-Daylight Again (1982)

In 1982, David Crosby, Stephen Stills, and Graham Nash reunited to record their fourth album in thirteen years, a brilliant work that showcased the unique talent of these legendary American musicians. It was in the late sixties that Crosby was asked to leave The Byrds due to his bandmates' rejection of his countercultural songs, such as the controversial "Triad". Nash, for his part, was quite frustrated by the musical direction his band, the Hollies, was taking, straying from their initial hippie roots. Meanwhile, Stills, having completed his time with the folk-rock band Buffalo Springfield, decided to explore new musical horizons. The union of these three geniuses was considered the first supergroup in history, a feat that would be further solidified in 1970 with the addition of Canadian Neil Young, another of the great geniuses of the late 1960s hippie movement. "Daylight Again" was originally conceived as a Stills and Nash album, for which they enlisted the collaboration of a wide array of renowned artists, including Art Garfunkel, Timothy B. Schmit, and Jeff Porcaro, among some twenty celebrated musicians from the American West Coast. However, due to pressure from Atlantic Records, they ultimately included David Crosby, who joined the project near the end of the album's recording process. "Daylight Again" was originally conceived as a Stills and Nash album, for which they collaborated with a wide array of great artists, including Art Garfunkel, Timothy B. Schmit, and Jeff Porcaro, among some twenty celebrated musicians from the West Coast. While not reaching the heights or creativity of their first three albums, "Daylight Again" is a fine example of American folk and rock, boasting a rich and varied repertoire that includes the opening track, "Turn Your Back On Love", an addictive melodic rock song; the melancholic folk number "Wasted On The Way", the bright and harmonious "Southern Cross", the rock tracks "Into The Darkness" and "Too Much Love To Hide", the rhythmic "Since I Met You", the beautiful "Song For Susan", and the introspective acoustic title track, "Daylight Again". "Daylight Again" was certified platinum for selling over one million copies in the North American market and nearly 800,000 worldwide.

Kandahar-In The Court Of Catherina Squeezer (1975)

We're not going to Belgium; this band, who played a style of progressive jazz-rock, was formed in early 1973 in the city of Ghent. The lineup consisted of Jeff De Visscher (electric and acoustic guitar, sitar, and vocals), Karel Bogard (keyboards and vocals), Jean Pierre Caléis (bass), and Etienne Delaruye (drums and percussion, piano, synthesizer, strings, clavinet, marimba, and vocals). This band released two interesting albums on their own record label, both sharing a clear common denominator: the avant-garde rock of the time and jazz, with influences from the Canterbury sound and certain avant-garde touches. "In the Court of Catherine Squeezer" was their second album, which followed in the footsteps of the jazz-rock of their debut, "Long Live the Sliced ​​Ham" (1974), but displayed greater consistency, solidity, and progressive creativity, leaving behind the bizarre touch of its predecessor. The raspy vocals are the perfect counterpoint to a captivating instrumentation, where synthesizers, organ, subtle guitars, sumptuous saxophones and a precise rhythm section give this album a haunting, alluring and ambient style of the best European jazz rock.

SBB-Ze Słowem Biegnę do Ciebie (1977)

Poland has proven to be one of the most creative countries when it comes to progressive rock. It is also undoubtedly the only country in Eastern Europe that takes pride in this style. Probably the best progressive rock band from Poland has been SBB. This group, formed in the early 1970s in the city of Siemianowice, has had several phases, the first being the most fondly remembered, spanning from 1975 to 1981. “Ze Słowem Biegnę Do Ciebie”, released in 1977, was their third studio album. On it, the lineup of Józef Skrzek (synthesizers, electric piano, Moog synthesizer, clavinet, Mellotron, bass, and vocals), Antymos Apostolis (guitar), and Jerzy Piotrowski (drums and percussion) created a truly substantial and powerful source of eclectic progressive rock, incorporating elements of jazz rock, space rock, and symphonic rock with well-structured, epic compositions that showcased the technical prowess of all three band members. The first side of the original album features the immense, eponymous jazz-rock track, a 19-minute musical epic that blends multiple styles, from energetic moments to more subdued sections. In contrast, "Przed Premiera" is closer to jazz fusion, featuring impressive keyboard and drum combinations with a touch of avant-garde and exploration. Without a doubt, this is one of the best European progressive rock albums, performed by one of the most talented bands ever, and is considered a true masterpiece of the genre.

Buddy Guy & Junior Wells-Play The Blues (1972)

"Play The Blues" is one of the landmark blues albums, a memorable work by two of the genre's greats, Buddy Guy and Junior Wells. This formidable duo contributed timeless moments to the history of the genre with recordings like this one, released in 1972. On this seventh album, released under the name Buddy Guy with Junior Wells, they were joined by legendary musicians such as Eric Clapton, Jim Gordon, Dr. John, A.C. Reed, and members of the J. Geils Band. Comprising original songs by the Guy-Wells duo and covers of some of the greatest bluesmen in history, it was recorded at Atlantic Records studios in New York in October 1970. Classics such as "My Baby She Left Me (She Left Me a Mule to Ride)" by Sonny Boy Williamson, "T-Bone Shuffle" by T-Bone Walker, and "Honeydripper" by Joe Liggins share the repertoire with irresistible blues of their own making, such as "A Man of Many Words", "Come on in This House/Have Mercy Baby", and "This Old Fold", creating an unrepeatable album of the best blues. 

Pretenders-Pretenders (1980)

The Pretenders were one of the most successful bands of the early 1980s, achieving success by rejecting the punk and synth-pop of the era to focus on a simple yet magnificent rock sound. Led by Chrissie Hynde, the Pretenders originated in London amidst the last vestiges of the first wave of punk that swept through the late 1970s and early 1980s. Hynde, an American, had settled in England in 1973 after completing her Fine Arts degree at the University of Kent. During her early years, she combined her passion for singing and guitar with writing for the magazine New Musical Express. In 1978, after several unsuccessful projects, she formed the Pretenders with bassist Pete Farndon, drummer Martin Chambers, and guitarist James Honeyman-Scott. Their debut album, "Pretenders," arrived two years later—a powerful and straightforward rock album with an intricate, solid, and precise sound brimming with personality. Tight rock songs like "Precious", "Tattooed Love Boys", "The Wait", "Private Life", "Kid", and "Brass in Pocket" showcased the excellence of a band that played magnificent, unadulterated rock and roll. Surprisingly, the album achieved extraordinary sales, far exceeding one million copies and reaching number one on the British charts, and number seven on the American charts.

Spin Doctors-Pocket Full Of Kryptonite (1991)

Emerging in the midst of the grunge craze of the late eighties, Spin Doctors had a meteoric rise thanks to a debut album brimming with alternative sounds, funk, rock, and pop. Their laid-back and fun songs led them to earn half a dozen platinum records with their first album, "Pocket Full of Kryptonite", an ironic title that directly references the Superman comics. Founded in New York in 1988, their first and most successful lineup consisted of vocalist Chris Barron, guitarist Eric Schenkman, bassist Mark White, and drummer Aaron Comes. It wasn't until 1990 that they recorded "Pocket Full of Kryptonite" under Epic Records, which was released in the middle of the following year. Composed of a carefree repertoire of songs ranging from pop-rock sounds like "Two Princes" or "Little Miss Can't Be Wrong", to captivating funk-rock tracks like "Come Off My Line" or "What Time Is It?", passing through the tour de force rock "Shinbone Alley/Hard to Exist", the rhythmic "Jimmy Olsen's Blues" or the jazzy "Forty or Fifty."

Miles Davis Quintet-Miles Smiles (1966)

A few years before Miles Davis began exploring the more avant-garde sounds of jazz, fusing it with rock, electronica, and funk, he released another of his legendary albums focused on melodic and somewhat futuristic bebop, anticipating by almost a decade what would later be called jazz fusion. Surrounded by one of his legendary quintets—comprising Wayne Shorter (saxophone), Anthony Williams (drums), Ron Carter (bass), and Herbie Hancock (piano)—Miles Davis favored a jazz style with a clear emphasis on the extended solos of some of his bandmates. The musicians' remarkable flexibility led to fabulous rhythms driven by the flawless rhythm section of Carter and Wayne and the tight exchange of solos between Davis's trumpet and Shorter's saxophone. Hancock's vibrant piano notes, the brilliant percussion, the driving rhythm of the wind instruments, and the inspired notes present in every groove of the record reflect a jazz album at its finest and a true masterpiece of the genre. 

Neil Young-Harvest (1972)

Neil Young's most acclaimed and successful album is also one of his most uneven works, musically speaking. Released in early 1972, "Harvest" is the fourth album by the Canadian singer-songwriter, guitarist, producer, and musician. In addition to collaborations with his former bandmates David Crosby, Stephen Stills, and Graham Nash, other musicians who contributed to its creation include Linda Ronstadt, James Taylor, the London Symphony Orchestra, Jack Nitzsche, and Kenny Buttrey. Positioning a blend of acoustic and rock, Neil Young delivered a work dominated by the album's standout track, the immense and emotive "Heart of Gold", which somewhat overshadows other highly meritorious tracks such as the country-rock anthems "Are You Ready for the Country" and "Alabama", the intricate "Old Man" and the melancholic "The Needle and the Damage Done". However, it is the predictable and out-of-place “A Man Needs A Maid” and the orchestrated “There’s A Word” that somehow leave a bittersweet taste to an album that would reap an irrefutable commercial success with nearly ten million copies sold worldwide.

Nazareth-2XS (1982)

In 1982, at the height of the AOR craze, the Scottish band Nazareth released their best work of the 1980s, an album that perfectly blended melodic rock with their signature hard rock sound. By this point, Nazareth had already experimented with this FM-oriented style with the brilliant albums "Close Enough For Rock 'n' Roll" (1976), "Expect No Mercy" (1977), and "Malice In Wonderland" (1980), records that were well-received by their fans and achieved significant success on the American and European charts. With “2XS,” the band’s thirteenth album, they returned to that formula, reflecting the charismatic rock that has always characterized them in tracks like “Take The Rap” and “Black To The Trenches,” alternating with more experimental and eclectic songs like “Mexico” and “Gatecrash,” while their more melodic side is present in the catchy “Love Leads To Madness,” “Games,” “Dream On,” and “Lonely In The Night”. Although it didn’t achieve the same commercial success as its predecessors, two of its singles, “Love Leads To Madness” and “Dream On”, climbed high on the Billboard charts in the UK and other countries around the world.

The Traveling Wilburys-Traveling Wilburys Vol.1 (1988)

 

A bizarre series of coincidences led five of the greatest rock artists in the world to come together and join forces to found the band The Traveling Wilburys and release several albums between the late 1980s and early 1990s. It all began when George Harrison (The Beatles) and Jeff Lynne (Electric Light Orchestra) finished composing and producing a song for the former Beatle's eleventh album, "Cloud Nine". Lynne also happened to be working at the same recording studios in Malibu, California, owned by Bob Dylan, producing Roy Orbison's album "Mystery Girl," so both ended up getting involved in Harrison's songwriting. Shortly after, Tom Petty and Bob Dylan also joined the project and collaborated on the recording. This amazing gathering of "friends" resulted in enough material to complete an independent album, which would be titled "Vol. 1" and released under the name The Traveling Wilburys. Released in October 1988, this debut album, comprised of ten high-quality tracks, was a fusion of the band members' styles, including country, folk, and rock, featuring the addictive songs "Handle With Care," "Dirty World," "Tweeter and the Monkey Man," and "End of the Line". Its reception was tremendously successful, selling over two million copies in the first few months after its release. However, The Traveling Wilburys' career was short-lived. Two months after the release of this first album, in December 1988, Roy Orbison died of a heart attack at the age of 52. Two years later, the four remaining musicians released a new and ultimately final album, "Traveling Wilburys Vol. 3," which they dedicated to Roy Orbison. Finally, after years of speculation about a reunion, The Traveling Wilburys would end up disappearing in 2001, with the death of George Harrison from lung cancer.

Moraina-Loners & Lovers (1974)

This Danish band, formed in the early seventies, released only one excellent album, which is considered among the best musical productions to come out of Denmark. Composed of musicians from other prominent Danish bands such as Culpeper's Orchard and Day of Phoenix, the lineup consisted of vocalist Hans Lauridsen, guitarist and keyboardist Nils Henriksen, guitarist and harmonica player Ole Prehn, and drummer Ken Gudman, with bassist Thorkild Nielsen completing the band. During their early years, the band earned a strong reputation in their home country by releasing a series of singles that garnered considerable attention. Then, in 1974, they released their only full-length album, "Loners & Lovers," a superb record where warm vocal harmonies, reminiscent of American bands like Crosby, Stills & Nash and America, were complemented by beautiful folk-rock melodies. In contrast to these sounds, we also find highly inspired moments closer to energetic rock and even blues rock, such as the opening track "Late Night Woman Blues," the vigorous "Rock 'n' Man," and the bluesy boogie "Fortunate & Fame," while the aforementioned folk/country vein is present in the captivating "Break It Up," "Since You've Been Gone," and the melancholic "Alone." There's even room for AOR tracks like the catchy mid-tempo "Deep Within The Storm" and "City Rambling Boy." Some time later, the band would definitively disband, leaving behind this magnificent work of folk, blues, and rock, which has earned its well-deserved recognition among fans of 1970s rock music. 

Mariah-Mariah (1975)

A short-lived band originally from Chicago, formed in the late 1960s, which enjoyed considerable popularity in the Michigan club and concert hall scene for a few years. During the early 1970s, under the name The Jamestown Massacre, they recorded a series of singles released by Warner Bros., which received some airplay on local Chicago radio stations. After several lineup changes, in 1974 the band, now definitively renamed Mariah, reformed with keyboardist Mark Ayers, bassist Ed Burek, singer Comforte, drummer Wayne DiVarko, and guitarists Len Fogerty and Frankie Sullivan. After signing with United Artists, they moved to Los Angeles where they recorded their self-titled debut and only album, "Mariah." On this debut album, the band drew influences from a wide range of groups, from the vocal melodies of The Doobie Brothers to the progressive style of Styx, and the heavy sounds of American hard rock from Mountain. "Mariah" consists of nine uniformly enjoyable tracks such as "Reunion," "Broadway," "Rock and Roll Band," "I Was Born," and "Hey Mama," all brimming with catchy melodies aimed at North American FM radio. Despite the album's high quality, it went largely unnoticed, which led to the band's breakup some time later. Frankie Sullivan would later found the band Survivor, with whom he achieved massive success throughout much of the 1980s.

Tantor-Tantor (1978)

Tantor is one of Argentina's quintessential cult bands and, at the same time, considered one of the country's greatest. This mostly instrumental power trio, playing progressive jazz-rock, lacked wider commercial success, primarily due to the presence of instrumental tracks on their albums. Nevertheless, they garnered a large following and received significant critical acclaim in Argentina and internationally. The band consists of drummer Rodolfo García, bassist Carlos Alberto Rufino, and guitarist Héctor Starc. These three virtuoso musicians brought extensive experience from other important Argentine bands such as Aquelarre and Invisible. Formed in 1977, they released their debut album just a year later, featuring keyboardists Lito Vítale and Leo Sujatovich. This debut album is the perfect example of jazz-rock with progressive leanings, technically superb, with a frenetic and energetic rhythm, driven by incredible guitar work, electric piano and synthesizer sounds, and a powerful and punchy rhythm section. Released at a time when the progressive rock era was in decline worldwide and jazz-rock wasn't at its peak of popularity, this legendary band managed to create one of the best jazz-rock and progressive rock albums ever made. From the opening, energetic jazz-rock track "Guerreras Club" to the epilogue with the vigorous "Carrera de Chanchos," the album unfolds with excellent musical ideas that are as exciting as they are captivating. The serene "Niedernwohren," the funky "Llama siempre," the jazzy, Latin-tinged "Halitos," and the enthusiastic jazz-fusion "Oreja y vuelta al ruedo" complete an anthological and essential work for all fans of progressive rock and rock music in general. 

Neuschwanstein-Alice in Wonderland (1976)

Neuschwanstein was a German progressive rock band formed in the early 1970s in the town of Volklingen, near Saarbrücken. Their name comes from the famous castle of the same name, commissioned by King Ludwig II of Bavaria in honor of Richard Wagner. In their early years, this band, led by Thomas Neuroth and Klaus Mayer, focused on performing covers of progressive rock classics by artists such as Rick Wakeman, Yes, and King Crimson. By 1974, the band had begun to gain some recognition in their home country, opening for other German rock bands like Lucifer's Friends and Novalis. Two years later, they recorded their first album, "Alice in Wonderland," a conceptual and instrumental album with narrated interludes. The lineup that recorded this album included Neuroth and Mayer (both on synthesizers, keyboards, and flute), drummer Hans-Peter Schwarz, bassist Rainer Zimmer, and guitarist and narrator Roger Weiler. Echoes of Camel, Rick Wakeman or Genesis are interwoven with grand atmospheric passages, symphonic music and dreamy melodies that leave us with an album with a carefully and brilliantly executed classical background.

Toad-Tomorrow Blue (1972)

“Tomorrow Blue” was the second album by the Swiss band Toad, a superb and successful blend of hard rock, blues rock, and progressive rock. Led by the brilliant guitarist Vic Vergeat, and supported by bassist Werner Fronlich and drummer Cosimo Lampis, this popular Swiss band, in this new release, moves away from the psychedelic and proto-rock of their debut album to delve into progressive sounds, incorporating elements of the most energetic blues rock. The album is brimming with sharp, searing guitar sounds, a precise and incredibly complex bass line, and powerful drumming, as demonstrated in tracks like the blistering “Vampires,” the epic “Change In Time,” the heavy rock tracks “Thoughts,” “Tomorrow Blue,” and “No Need,” and the progressive folk “Blind Chapman’s Tale.”

Fantasy-Fantasy (1970)

Throughout history, there have been quite a few bands called Fantasy. In fact, this blog features a British band that released a superb album in the early 70s, oriented towards progressive pop. But today we'll talk about another "Fantasy." This one, like the previous one, is from the late 60s, but they were American, more specifically from Florida, and would be the first to officially adopt that name. Emerging amidst the effervescent hippie and flower power era, this band consisted of Billy Robbins (lead vocals), his twin brother Bob Robbins (bass), Jim DeMeo (guitar), Mario Russo (keyboards), and Greg Kimple (drums). Initially, their style was related to what leading bands like Jefferson Airplane were doing at the time. However, this band gradually refined their style, moving towards more avant-garde sounds without abandoning their psychedelic spirit. Their enormous reputation led them to open for Iron Butterfly, Led Zeppelin, Frank Zappa, Grateful Dead, and The Doors. But in 1970, their lead singer suddenly disappeared, his body later found in the Everglades. The rest of the band had to quickly reinvent themselves to fulfill their contracts and began the arduous task of replacing such a charismatic singer as Robbins—something seemingly impossible—until a young woman of just 16, named Lydia James Miller, managed to convince them and landed the lead singer position. Despite her young age, this singer performed and sang like a seasoned professional with a vocal range very similar to that of Grace Slick of Airplane!, and even to Janis Joplin herself. Miller's vocal abilities allowed the rest of the band to explore a wider range of musical ideas, and conventional psychedelic rock transformed into something more progressive, just as the simplicity of the 1960s was being replaced by sophistication and musical ambition. This development quickly caught the attention of Liberty United Artists, with whom they signed a contract and recorded their self-titled album. The album contained hints of folk rock, psychedelic pop, jazzy textures, and even sounds very close to what many years later would be called new wave. Tracks like the epic "What's Next," the psychedelic "Circus of Invisible Men," the bluesy "Understand," and the catchy "The Stoned Cowboy" led Fantasy to enjoy a successful but ephemeral period of glory that didn't last much longer than this phenomenal album, now lost in the mists of time. 

Nightnoise-The Parting Tide (1990)

When discussing traditional Celtic music, one cannot overlook Nightnoise, an innovative Oregon-based group comprised of Irish, Scottish, and American musicians, considered the spearhead of the Irish folk revival in the 1980s. However, Nightnoise's style wasn't solely rooted in Celtic folk; it also incorporated elements of jazz and chamber music. Their origins trace back to the early 1980s when American violinist Billy Oskay, bassist Tommy Thompson, and Irish guitarist Michael Ó Domhnaill released their self-titled debut album, "Nightnoise," on the prestigious Windham Hill label. This first release showcased a style that fused the relaxed atmosphere of classical music with jazz, all within a distinctly Irish framework. Some time later, the band expanded with the addition of Irish vocalist Triona Ní Dhomhnaill and American flautist Brian Dunning, thus completing the group's most stable and renowned lineup. In the following years came other works that are considered fundamental to new age music, such as "Something Of Time" (1987), "At The End Of The Evening" (1988), "The Parting Tide" (1990), "Shadow Of Time" (1993), and "A Different Shore" (1995). All of these were very well received in new music circles and garnered favorable reviews from the specialized press. In each and every one of them, Nightnoise managed to perfectly blend traditional Celtic music, ambient music, and jazz.

Electric Sun-Earthquake (1979)

After his time with the German band Scorpions ended, lead guitarist Uli Jon Roth formed the project Electric Sun, with whom he recorded three albums between 1979 and 1985. The first of these, "Earthquake," was released in 1979 and featured Roth on guitar and vocals, along with bassist Ule Ritgen and drummer Clive Edwards. It was followed by "Fire Wind" in 1981, which introduced a new drummer, Sidhatta Gautama. With this lineup, the band toured extensively around the world, achieving modest success. For their third album, "Beyond the Astral Skies" (1985), they enlisted former Jethro Tull drummer Clive Bunker, as well as vocalists Michael Flexig and Nicky Moore. The style of this project was far removed from what Scorpions were doing at the time, veering towards a psychedelic hard rock created in the image of what Jimi Hendrix had done ten years earlier. However, hippie trends were already quite outdated by the late 70s, so despite Roth's prodigious talent on the six-string and the undeniable quality of the other band members, the project was doomed to commercial failure. Another contributing factor was Roth's limited vocal range, which significantly diminished the final result of their debut album. Even so, on this first album, the instrumental work is in many cases breathtaking, where the epic, neoclassical style and hard rock are brilliantly and heroically executed by the power trio, as demonstrated in tracks like "Electric Sun," "Burning Wheels Turning," "Sundown," and the magnificent epic "Earthquake."

Pacific Eardrum-Pacific Eardrum (1977)

We continue expanding our musical palette with another forgotten band from the 70s, this time traveling to New Zealand, the home of Pacific Eardrum. This jazz-rock/funk and soul band released two albums on the British label Charisma in 1977 and 1978, followed by a third on CBS in 1980. The original lineup consisted of three New Zealanders (Dave MacRae, keyboards; Joy ​​Yates, vocals; and Bill Kristian, bass), two Britons (Jeff Seopardie, drums; and Isaac Guillory, guitar), and one American (Jim Cuomo, saxophone). Dave MacRae was the most experienced, having played in bands like Matching Mole, Nucleus, and The Walker Brothers, followed by Yates, who had contributed to albums by Cat Stevens, Chris De Burgh, and Chris Youlden. Their first album, which isn't discussed here, was produced by Laurie Latham at London's Workhouse Studios during the first months of 1977 and released in the middle of the same year. Joy Yates's vocals, along with the magnificent instrumental structures created by McRae and flawlessly performed by the band, are undoubtedly the highlights of an album that showcased great compositional talent and musical originality. Tracks like "All Around Us" and "Sun and Sand and Samba" are just a small sample of the enormous quality that, incomprehensibly, didn't achieve much success beyond a few thousand copies sold and the enthusiasm of a large legion of devoted fans.

Tears For Fears-Songs From The Big Chair (1985)

Formed under the guidance of two of the finest musicians of the 1980s new wave, progressive pop, and synth-pop scenes, Tears For Fears achieved meteoric success with their debut album, "The Hurting," released in 1983. This duo, composed of Roland Orzabal and Curt Smith, debuted with an album brimming with controversial themes such as childhood trauma, the treatment by oppressive parents, and the emotional struggles of adolescence. The album featured standout tracks like the catchy "Mad World." But on their next full-length album, the duo showcased a more mature and reflective side with refined pieces like the poignant "Head Over Heels" and the incredibly infectious "Everybody Wants To Rule The World" and "Shout," two of the most famous songs of the 1980s. Other songs, such as the complex "The Working Hour," the dark "Broken," and the nostalgic "Listen," cemented Tears For Fears as one of the most eclectic and talented bands of the 1980s. With its subsequent commercial success, this album reached number two in the UK and number one in the US, becoming a multi-platinum record with over ten million copies sold worldwide.

Wanka-The Orange Album (1977)

Wanka was a forgotten Canadian band that followed in the footsteps of the progressive hard rock of other bands from their country like Rush and Triumph, but they didn't achieve the same success, despite releasing an interesting album that ultimately went completely unnoticed commercially. Formed in the mid-seventies in Toronto by Britons Chris Gibb (bass) and Mark Pickett (guitar) and Canadians Howard Samuel (guitar and vocals), Mike McConnell (drums), and Doug Paul Smith (keyboards), the band spent several years building a strong reputation as a local act in the pub and concert venue circuit of Toronto and the surrounding area. The enormous talent of these five boys did not go unnoticed by Rush and Max Webster's producer, Terry Brown, who offered them the opportunity to record an album produced by himself and released in mid-1977. Published by the independent label Axe Records, this album, titled "The Orange Album," contained an exciting collection of tracks that ranged from pure hard rock to AOR with progressive touches, as demonstrated by tracks such as "Make Up Your Mind," "Wrong Door," "Get Ahead," and "Say No More."

801-801 Live (1976)

801 was a project formed by Phil Manzanera as a supergroup parallel to his main band Roxy Music, with whom he released two albums in the mid-seventies. “801 Live” was the first, and as its title indicates, it is a live recording made during a mini-tour in the UK during August and September of 1976. In addition to the guitarist, the band consisted of Brian Eno (keyboards, guitar, and vocals), Francis Monkman of Curved Air (keyboards), Simon Phillips (drums), Bill MacCornick (bass and vocals), and Lloyd Watson (slide guitar). With an eclectic style ranging from catchy, melodic tunes to raw, pure rock tracks, while still incorporating the progressive sounds and avant-garde elements that are always present in any work involving Brian Eno, the album unfolds energetically, brimming with complex compositions. Highlights include Monkman's Fender Rhodes keyboards, bassist MacCornick's driving rhythm, Eno's ambient atmosphere, Phillips' solid percussion, and the brilliant guitar work of Phil Manzanera. The repertoire is divided between covers of songs by The Beatles (T.N.K. - Tomorrow Never Knows), The Kinks (You Really Got Me), and other compositions by Brian Eno, Manzanera himself, and the Eno/Manzanera band Quiet Sun.

Colosseum II-Strange New Flesh (1976)

Colosseum was one of the first progressive rock bands to emerge in the late 1960s. After releasing four magnificent progressive jazz albums (“Those Who About to Die Salute You,” “Valentyne Suite,” “The Grass Is Greener,” and “Daughter of Time”), they disbanded near the end of 1971. Several years later, one of its founders, drummer Jon Hiseman, revived the band, recruiting vocalist Mike Starr, guitarist Gary Moore, keyboardist Don Airey, and bassist John Mole, thus forming Colosseum II. In 1976, they debuted with “Strange New Flesh,” which, unlike the progressive Colosseum of earlier years, leaned towards a vigorous jazz-rock sound very much in line with what other contemporary bands of the genre were doing at the time (Return to Forever), fusing it with an energetic rock style reminiscent of the Jeff Beck Group or the James Gang. An album that opens with the dazzling and exhilarating "Dark Side of the Moog," an ironic title that bears no resemblance to the work of the bands led by Roger Waters and David Gilmour. This is followed by the melodic and atmospheric "Down to You," featuring excellent vocals from Starr and Airey's keyboard work. The funky jazz tracks "Gemini and Leo" and "Secret Places" add a touch of lightheartedness to this debut album. The album closes with the melodic "On Second Thoughts" and the tour de force "Winds," where all the musicians deliver dazzling instrumental performances in a powerful piece of progressive jazz that serves as the perfect conclusion to a masterpiece of 1970s jazz-rock.

The 13th Floor Elevators-The Psychedelic Sounds Of The 13th Floor Elevators (1966)

We are dealing with a band and an album that are fundamental to understanding the evolution of psychedelic music and garage rock in the 1960s. The 13th Floor Elevators were the first to create a style that would soon be called psychedelic pop/rock, based primarily on the roar of acid guitar riffs and reverberation at high volume, recording and performing live under the influence of LSD, resulting in highly distorted sounds. This band, originally from Austin, Texas, consisted of Roky Erickson, guitarist, singer, and frontman; Stacy Sutherland on lead guitar; drummer John Ike Walton; instrumentalist Tommy Hall; and bassist Ronnie Leatherman. In 1966, thanks to several impactful singles, the group embarked on a successful tour of the American West Coast, which led to a contract with International Artists, with whom they released their first full-length album at the end of 1966. Sarcastic songs like "You're Gonna Miss Me," powerful garage rock tracks such as "Reverberation (Doubt)" and "Tried to Hide," and the decadent "Roller Coaster" and "Fire Engine" served as the perfect introduction to the national scene for The 13th Floor Elevators. However, after several more releases, "Easter Everywhere" (1967) and "Bull of the Woods" (1969), the group was consumed by its own fame. The continued use of hard drugs and the resulting legal troubles led to numerous mental health problems for all its members. Finally, in 1969, Roky Erickson was prosecuted for marijuana possession, an event that marked the end of the band's career. 

The Animals-The Animals (1964)

The Animals are one of the key bands of the British Invasion, and in their early years, they were fierce competitors to the likes of The Beatles and the Rolling Stones. This band, initially known as The Alan Price Combo, consisted of keyboardist Alan Price, singer Eric Burdon, guitarist Hilton Valentine, bassist Chas Chandler, and drummer John Steel. Their first record deal was with MGM, with whom they released their self-titled debut album, "The Animals," in 1964. The standout track on this first album is the legendary "House of the Rising Sun," a traditional song reimagined with new arrangements, featuring captivating guitar lines and a distinctive organ sound that propelled it to the top of the charts on both sides of the Atlantic, making it one of the most enduring songs of the twentieth century. In addition to this song, other brilliant versions appear here under the hypnotic rhythms of Rhythm and Blues such as "Around And Around" by Chuck Berry, "I've Been Around" by Fats Domino, "I'm Mad Again" by John Lee Hooker or "Talkin' Bout You" by Ray Charles.

Various Artists-41 Original Hits From The Soundtrack Of American Graffiti (1973)

In 1973, the renowned director George Lucas, famous for films like "Star Wars" and "Indiana Jones," wrote and directed "American Graffiti," a film set in the early 1960s in which he attempted to faithfully recreate the American youth culture of that era and the impact of rock and roll on that generation. The film became one of the most lucrative in cinematic history, grossing over $200 million from box office receipts, record sales, and VHS video sales and rentals. Beyond the film itself, the most striking aspect of this cinematic masterpiece is its impressive soundtrack. Lucas meticulously selected 41 songs that are fundamental to the origins of rock and roll. All of them achieved massive success on the charts, not only in the United States, but many also worldwide. From Chuck Berry's rock and roll to Booker T. Jones' soul jazz, passing through pioneers of the genre such as Bill Haley and The Comets, Fats Domino, Del Shannon or Buddy Holly, the doo wop of The Platters or the surf of The Beach Boys.

Rock Rose-Rock Rose (1979)

Another interesting and now largely forgotten band was the American group Rock Rose, who offered a compelling and engaging blend of melodic AOR and American rock from the late 1970s. The band was originally formed by bassist and vocalist Frank Demme, guitarist and keyboardist Chris Barr, and guitarist Carl Johnson, who attended high school together in a Los Angeles suburb. This trio was one of the most popular among a variety of California garage bands before recruiting drummer Jack Damore. Once the band lineup was solidified, they hit the ground running, playing a wide circuit of clubs in Southern California and touring other states along the West Coast. The immense popularity Rock Rose gained through their concerts did not go unnoticed by Columbia Records, who offered them a contract and produced an album in early 1979. This single album is well-crafted, featuring polished, harmonious arrangements courtesy of the top-notch production team that worked with Santana: Dennis Lambert and Brian Potter. Among its tracks are the addictive and catchy rock songs "Diary of Fools," "Daddy's Car," "Sad Thing," and "Slippin'," as well as the melodic "Bittersweet Love," "You've Gone Beyond," "Phantom Lover," and "Sad Thing." The album achieved more than acceptable sales in the North American, Canadian, and Australian markets, but this was not enough for Columbia, and some time later their recording contract was terminated. The band then returned to performing concerts in the Los Angeles area.

Pell Mell-Marburg (1972)

Pell Mell were another of those talented bands that fell into the abyss at the end of the 1970s, disappearing as if they had never existed. Their debut album, "Marburg," brimming with violins, mellotrons, flutes, and a solid rock foundation, developed a symphonic rock sound that drew from the genre's great classics, fusing them with a dose of heavy sounds driven by the Hammond organ, resulting in a style reminiscent of British bands like Uriah Heep or Deep Purple. This group was based in the city of Marburg in northwestern Germany, and its lineup consisted of Jorg Gotzfried (bass and vocals), Andy Kirnberger (guitar), Bruno Kniesmeijer (percussion and drums), Hans Otto Pusch (keyboards), and Thomas Schmitt (flute, violin, keyboards, and vocals). The nine-minute frenetic "The Clown and the Queen" opens this debut album and simultaneously becomes its climax, followed by the dynamic "Friend," the grandiose "City Monster," and the heavy rock anthem "Alone." While the cover of Smetana's classic "The Moldau" is perhaps the least interesting track, it doesn't detract from the merits of this compelling album of classic symphonic rock, highly regarded by progheads.

The Sensational Alex Harvey Band-SAHB Stories (1976)

Heavy riffs, theatrical stage presence throughout, flashes of glam rock, and a dash of humor were the ingredients that always characterized The Sensational Alex Harvey Band, one of the most popular bands in England during the 1970s. With eight studio albums and two live albums in just five years, they knew how to combine the heavy sounds of hard rock with humorous lyrics and an engaging stage show. In 1976, thanks to the hit single "Boston Tea Party," they also reached the top ten of the British charts, a track from their sixth album, "SAHB Stories," which also achieved significant chart success. This sixth album, produced in London's Basing Street studios during the first months of 1976, was released in the middle of the same year and was recorded by musicians Alex Harvey (guitar and vocals), Zal Cleminson (guitar), Ted McKenna (drums), Chris Glen (bass), and Hugh McKenna (keyboards). In addition to the aforementioned and carefree "Boston Tea Party", the group leaves us with a work full of impressive cuts such as the powerful and exquisite "Dance To Your Daddy", the groove boogie rock "Amos Moses", the elegant "Jungle Rub Out", the extravagant bluesy "Sirocco", the hard rock "Sultans Choice" or the epic "Dogs Of War", with which they bring to a close this fantastic and memorable album from one of the most iconic bands in the history of British rock.

The Greatest Show On Earth-Horizons (1970)

The Greatest Show On Earth was one of the many unclassifiable bands that emerged in the late 1970s. Despite releasing two excellent albums of eclectic prog rock, they didn't achieve the expected and deserved success. Founded in London by guitarist Garth Watt-Roy and his brother, bassist Norman Watt-Roy, the rest of the lineup included keyboardist Mick Deacon, percussionist Ron Prudence, trumpeters Dick Hanson, Tex Phillpoots, and Ian Aitchison, and vocalist, guitarist, and flautist Colin Jennings. The music of this large band was a blend of different styles such as soul, jazz, R&B, and progressive rock, leading to comparisons with their American contemporaries Blood, Sweat & Tears and Chicago. This appealing mix of styles caught the attention of EMI's progressive rock sub-label, Harvest Records, who produced several moderately successful singles for them. In 1970, their first full-length album, "Horizons," was released. It opens with the exuberant and powerful "Sunflower Morning," where the guitar and heavy organ establish themselves as the driving and dominant instruments of the band's original style. "Angelina," the following track, is dominated by horns in a clear brass rock style. The captivating and moving "Day of the Lady" closes the first side, showcasing superb musicianship. The energetic rock track "Real Cool World," with its pulsating rhythm and powerful guitar riffs, became the song that propelled the album to success across much of Europe, while the hard jazz rock track "I Fought for Love" demonstrates the impressive skill of keyboardist Deacon. With the title track, "Horizons," the band reveals its most avant-garde side, a resounding and apotheotic tour de force of progressive hard rock, before concluding this debut album with the melancholic "Again and Again." After a second album released at the end of 1970, and due to a lack of chart success, it contributed to the breakup of The Greatest Show On Earth, and all its members went on to join other bands of the time such as Glencoe, Vinegar Joe, The Blues Band, Chaser, Tagett, or the Wilko Johnson Band.